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ICONIC ROCK N’ ROLL PHOTOGRAPHERS DONATE WORK FOR LOST BOYS

Renowned Photographers to Exhibit Works for Benefit

The Event The Lost Boys Foundation of Nashville presents a very rare event featuring historic works by internationally renowned music photographers Baron Wolman, Henry Diltz, Danny Clinch, and Nashville’s legendary Jim McGuire on Saturday, September 26, 2009 from 6 to 9 p.m. at the Lost Boys Center & Gallery, 535 4th Avenue South in Nashville. Dylan, Cash, Springsteen, Hendrix, Santana, Zappa, the Who, the Dead, the Eagles, Rolling Stones, Smashing Pumpkins, Pearl Jam, Pink Floyd, John Hiatt, Tupac, Iggy Pop, Emmylou Harris, Dave Matthews, Janice Joplin, Neil Young, Joni Mitchell, Tom Waits, George Harrison, Jerry Garcia, Linda Ronstadt, James Taylor, Townes Van Zandt, Vassar Clements, Steve Earle, Rodney Crowell, the Monkees, the Mamas and Papas, Crosby, Stills & Nash, Jim Morrison and the Doors are among the many rock and music legends captured on film by Wolman, Diltz, Clinch and McGuire, at historic events such as Woodstock and Monterey Pop, for publications such as Rolling Stone, Spin and Vanity Fair, and on literally hundreds of album covers. For the September 26 event, each of the four photographers are donating 10 to 12 of their works to benefit the Lost Boys Foundation., the 501c3 non-profit organization whose mission is to assist Lost Boys who escaped genocide in Sudan and are now facing many challenges to make a better life in the Nashville area. Much-needed programs for the Lost Boys include computer training, job counseling, social acculturation, educational scholarships and books, immigration and naturalization assistance, art training and materials, a fund for Lost Boys who need emergency assistance from time to time, and more. The show is free and open to the public, with proceeds from sales of the photographic works going to the Lost Boys Foundation. Barry Wolman and Jim McGuire are slated to appear at the event. The event was inspired by Burt Stein of Gold Mountain Entertainment, a long-time supporter of the Lost Boys and the Lost Boys Foundation. "This is a not to be missed historic photo exhibit for a most worthy cause. Put it on your calendar now," said Stein.

For more information contact: Lois Moreno at [email protected] or 615:256.8302.

Photographer Website Info

Baron Wolman – www.fotobaron.com Henry Diltz – www.morrisonhotelgallery.com Danny Clinch – www.dannyclinch.com Jim McGuire – www.nashvilleportraits.com ADDENDUM INFORMATION 2

The Lost Boys Beneficiaries

Following a civil war that had raged in Sudan for several years, in 1987 the carnage escalated into full-blown genocide. Soldiers raided and destroyed villages at random, raping the women and killing boys and men. Whenever word reached a village that soldiers were on the way, boys too young to fight were ordered by the elders to run away, in hopes of saving some of their people. Many left in the middle of the night, escaping with only the clothes on their backs, to meet up with boys lost from other villages. Ultimately, tens of thousands of boys aged 4 to 15 wandered Sudan and crossed the Gilo River into Ethiopia. They stayed nearly four years, until war broke out in that country also, and the Lost Boys were driven back to Sudan. Those who survived spent another eight months walking at night, in long single-file lines to a refugee camp in Kenya, arriving in 1992. By the time American charities began bringing the Lost Boys to the United States, only about 10,000 were still alive. Of that number, the United Nations along with Catholic Charities and World Relief brought 3,600 to America. About 150 of those were resettled in Nashville. Upon hearing of Lost Boy refugees who had begun settling in the Nashville area, photographic artist Jack Spencer was inspired to make a portrait series of them. In doing so, he not only created a compelling collection of photographs, he became friends with the young men, moved by their heartrending stories and resilience. "I had no interest in selling the work," Spencer says. "I just wanted to photograph their spirits as best I could." In September 2004, two of the Lost Boys he had photographed—Pel Gai and Dourading Duop—were stabbed in a South Nashville nightclub by a drunken soldier. Duop recovered after a lengthy hospitalization, but Gai died the following morning at Vanderbilt Medical Center. "The irony of Pel surviving all the horrors of Sudan, only to come to the land of opportunity and be senselessly murdered was so confounding to me," Spencer says. The inspiration to launch The Lost Boys Foundation came as he went to colleagues and friends to supplement the money that other Lost Boys raised to bury Gai. One of the foundation's goals became creating a place where the Lost Boys could gather while receiving assistance in vocational and life skills, as well as studio space where they could develop artistic expressions of their experiences in Africa, which also provides self-sustaining income. After extensive fund-raising efforts, the foundation acquired a corner building at 535 Fourth Ave. S. that had previously been an industrial shop. With a little help from some caring friends, Spencer took five months to transform the old building into a brightly lit gallery, with a computer room, a small kitchen and a large art studio replete with a kiln. Lost Boys began to gather there on weekends to work on paintings, carvings, masks and works in clay. The Lost Boys Center & Gallery opened June 6, 2007 with an exhibition by the Lost Boys, as well as several photos from Spencer's Lost Boys series. Since then, the foundation has hoped to expand its assistance to Lost Boys in a wide variety of areas necessary to help the young men become self-sustaining within American culture. For more information on The Lost Boys Center & Gallery: thelostboysfoundation.org ADDENDUM INFORMATION 3

Photographer Bio Info – Baron Wolman, Henry Diltz, Danny Clinch, Jim McGuire

Baron Wolman

From fotobaron.com:

Fueled by the music and the times, a 21-year-old journalist named Jann Wenner gathered some friends and began a revolution in ink. Named Rolling Stone, this newsprint rag captured the era, defined it in print and pictures, and helped form a generation. Among the friends that Wenner interested in his project was Wolman, then a 30-year-old freelance photojournalist. Already an established photographer for such glossy mags as Life and Look, Wolman accompanied Wenner in '67 to cover the story when Mills College--a bastion of academic musical study--canonized rock music by hosting a conference on its importance.

Wenner invited Wolman to shoot for the burgeoning Rolling Stone, Wolman agreed to work for free, and when the first issue hit the streets five months later, rock history began to be recorded.

During his fast-paced tenure, Wolman's lens captured the royalty of the '60s pop and rock explosion: Janis Joplin, the Rolling Stones, Frank Zappa, the Who, Jimi Hendrix, Joan Baez, Iggy Pop, Pink Floyd, Bob Dylan, the Grateful Dead, Phil Spector, Jim Morrison, Ike & Tina Turner, Tim Leary, and a motley cast of hangers-on.

When he left the magazine three years later, rock itself had changed.

And according to Wolman and former Rolling Stone managing editor John Burks, now a professor of journalism at San Francisco State University, nothing will ever be the same again. "Once in a while, I'll look back at my old copies of Rolling Stone, if a student has a question or something," says Burks, "and I'm really struck by the collected works of Baron and [fellow photographer] Jim Marshall. Rolling Stone created the language, visual and written, of that era and it seemed accidental. You can't do that anymore."

Why is this no longer possible? Wolman and Burks both agree on one word: access.

"The only way for Baron to do the work he did, so close to the performers, so lyrical and intimate, was through access," confirms Burks, noting that today's rock stars are so packaged, so protected, and so image-conscious that the kind of off-hand directness featured in those early issues of Rolling Stone shots no longer exists.

"There was the excitement to the concerts that I tried very hard to get," says Wolman. "It's very hard with a still photograph to capture the action of a concert," he says. "You try to see something in the face, the body language, the lighting. Of course, it was much tougher in those days; there were no automatic cameras, so it was a real technical challenge to get a decent photograph. "But the really great thing was that I could get onstage with people, no problem. For [photographing] Tina Turner at the Hungry i, I was probably 12 feet away--I could smell her." ADDENDUM INFORMATION 4

Access may have been half of the charm, but talent crafted the rest. "What happens when I take pictures at concerts is that I really get involved in the music. I let the music get into my system so that I can anticipate what the musician is going to do," Wolman explains.

"Because if I can anticipate, I can get a good shot. Once I see the good shot in the viewfinder, it's gone. The music gets inside me, it's in my brain, I'm close enough to the stage so that the vibration from the speakers is making my skin tingle, and I'm filling the viewfinder with the musician. It's almost, not quite, as if I'm the person that's up there. I just always feel high. I disconnect with the real world," Wolman says, "and I'm involved in the process.

"When I took these pictures, I didn't feel as if I were taking a picture. I felt as though I were some conduit for this experience, and I happened to have the camera in my hand and would snap the shutter, but it wasn't somehow my choice. I don't know how else to explain it: I mean, I want to own responsibility for the good ones, and even the bad ones, but there was something else. When I would go out on assignment, I would go into this other state.

"Because I see myself as a kind of voyeur," he grins. "I'm happiest when I'm invisible and watching. I just love to watch. I'm a chameleon and can adapt myself to the situation, and that, to me, is one of the gifts that I was given naturally, and that's how you get honest pictures."

"But," Wolman says, still smiling, "those days are gone, and when those days left, I really began to lose interest in it.

"When the business of music became bigger than the music itself," he says, "then we became part of a wheel, and the artistry of the photography was then incorporated in the person's vision of himself or herself for their own career, rather than the disinterested journalistic kind of approach, which I really like.

"For me personally," he says, "it went from an intimate experience to being a major corporate experience. Well, maybe not corporate, but beyond the intimacy."

After leaving Wenner and company, Wolman started his own fashion magazine, Rags, housed in Rolling Stone's first San Francisco offices. When that venture, devoted to street couture and culture, folded after 13 issues, Wolman learned to fly, did aviation photography; started Square Books, his own publishing house; and has since continued to do projects for everyone from the Oakland Raiders to the adult-rock cable music channel VH1.

"I look at life like this huge buffet table," says the unflappable Wolman. "And I'm not going to stop at the appetizers. I want to eat from the whole table. If you do that, you pay the price in some way, but you get to taste every flavor." He leans forward in his chair with a conspiratorial smile. "I," he says with satisfaction, "have had such a cool life."

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Jim McGuire

Over 400 album covers..

Excerpts from McGuire at nashvilleportraits.com:

”The next thing that was really profound for me was seeing John Hartford and the "Aereo-plain Band" play a club in the village. The band consisted of John, Vassar Clements, Tut Taylor, and Norman Blake and it was the most thrilling music I had ever heard. It changed the direction of Bluegrass forever. And thanks to my new found friend, David Bromberg, I was able to get them all back to my little studio after a show one night to do some B&W portraits. The portraits of John and Vassar on my web site were shot that night and I can remember the first time printing those images in the darkroom, thinking that maybe...just maybe, I could do this for a living. From then on I was hooked on shooting musicians and on a mission from God to move to Nashville.

”Nashville in the early 1970s was a great place to be, not only as a photographer but as a music lover...and Travis had an eye and an ear for talent. The first six months I was in town, I slept on the floor of Travis's upstairs office on 19th Avenue and can remember waking up many mornings to singers and songwriters who came to Travis for help getting into the music business...John Hiatt, Emmy Lou Harris, Rodney Crowell, Steve Young, Guy Clark, Townes Van Zandt, Steve Earle...they were all there starting out just like me. For me, it was the right place to be.

”For many years, I lived in and worked out of a small, ancient, storefront on Wyoming Ave. I made a deal with my landlady who lived next door, to keep the place in repair in exchange for $125 a month rent. I spent countless hours on that roof but it was a wonderful, small, cozy room and spawned many late night drinkin' and pickin' sessions that resulted in many of the portraits in this series. I lived there on the cheap for thirteen wonderful years and as I began to shoot covers for the major labels, it was always fun to see big stars like Marty Robbins, Barbara Mandrell, Waylon Jennings and even Bill Monroe pull up in their Cadillacs to this funky, boarded up, store-front thinking, "surely this can't be the place!!!" I remember many times seeing them just sitting in their cars and having to go out and introduce myself and invite them in. But it was the place...and once inside they were immediately comfortable in that warm, friendly space. Great friends and great music were made in that old store.” ADDENDUM INFORMATION 6

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Henry Diltz

From morrisonhotelgallery.com:

In the world of rock n’ roll photographers, there are none as extraordinary as Henry Diltz. A founding member of the Modern Folk Quartet, Diltz is as much at home as a musician on tour, as he is a visual historian of the last four decades of popular music. The rapport he’s developed with his musician friends, along with his down-to-earth-grin and frequent laugh, enables him to capture the candid shots that convey a rare feeling of trust and intimacy with his subjects

For Diltz, the pictures began with a $20 second-hand Japanese camera purchased on tour with the Modern Folk Quartet. When MFQ disbanded, he embarked on his photographic career with an album cover for The Lovin’ Spoonful. Despite his lack of formal training, Diltz easily submerged himself in the world of music: the road, the gigs, the humor, the social consciousness, the psychedelia, the up and down times.

For over 40 years, his work has graced hundreds of album covers and has been featured in books, magazines and newspapers. His unique artistic style has produced powerful photographic essays of Woodstock , The Monterey Pop Festival, The Doors, Crosby, Stills, Nash & Young, Jimi Hendrix and scores of other legendary artists. Diltz continues his distinguished career, generating new and vibrant photographs that inspire the rock n’ roll fan in each of us. Henry Diltz is a partner in, and is exclusively published and represented by the Morrison Hotel Gallery.

Henry Diltz helped invent rock photography in the 1960s. Among the nearly one million black & white and color pictures he's shot over the last 35 years are iconic images of The Lovin' Spoonful, The Mamas & The Papas, America, The Eagles, Linda Ronstadt, and Rhino's fave foursome, The Monkees. Still an active photographer, Henry has more than 200 LP sleeves to his credit, including such famed album covers as The Doors' Morrison Hotel, James Taylor's Sweet Baby James, and Crosby, Stills & Nash's debut.

Henry Diltz has photographed some of rock's greatest artists, and he has allowed Rhino to display some of his handiwork here; you can view the photos and read the story behind each one. ADDENDUM INFORMATION 7

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Danny Clinch

From dannyclinch.com:

Photographer and film director..

Clinch grew up at the New Jersey shore in Toms River.[1] He began his career as an intern for Annie Leibovitz, and has gone on to photograph the likes of Johnny Cash, Bruce Springsteen, Tupac, The Smashing Pumpkins, Blind Melon, Dave Matthews Band, Phish, and Björk. His "unobtrusive" style, according to his bio, is one of the features that Clinch's photographic subjects enjoy.

Clinch's photographs have appeared in publications throughout the world, including Vanity Fair, Spin, and Rolling Stone. Clinch has published two books: Discovery Inn in 1998, and The Iron Bird Flies in 2000.

His harmonica playing is featured on the Foo Fighters' song "Another Round" off of 2005's In Your Honor and during a live performance of their song "Stacked Actors". Clinch was also one of the two photographers for that album and is featured on Foo Fighters live album Skin and Bones.

In 2003, Clinch founded the film company Three on the Tree Productions, based in New York City. He is also among the 43 noted photographers invited to donate a print to "FOCUS: an auction of the finest photography to benefit City Harvest...." The fund-raiser on September 18, 2008 supports City Harvest, a food collection bank in New York City. [1]

Clinch directed a concert DVD documenting Pearl Jam's 2006 tour of Italy entitled Immagine in Cornice which was released in 2007. He also directed the DVD portion of Springsteen's Devils & Dust DVD box-set.

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